EDGELARKS – Edgelarks (Dragonfly DRCD004)

EdgelarksHaving previously traded under their own names, Phillip Henry and Hannah Martin have decided to save space on the album sleeves (well, after this one anyway) by reinventing themselves as Edgelarks. Fans will be pleased to know, however, that, musically, the duo haven’t rung too many changes.

Featuring contributions from Lukas Drinkwater on bass, John Elliott on drums and keyboards and table player Niall Robinson, inspired by last year’s tour of Australia, the album deals with themes of margins and marginalisation, of boundaries, transition and hope, opening in ‘Landlocked’, a moody, banjo-pinioned song about Nancy Perriam, a woman from Exmouth, who, in the early part of the 19th century, went to sea and travelled the world with the navy.

The slouching rhythm of ‘No Victory’ introduces a new instrument to their musical repertoire with Martin playing a pedal powered shruti box while the track also features Henry’s beatbox harmonica technique. Indeed, the instrumentation throughout is as eclectic as it is extensive, featuring Dobro, fiddle, banjo, a variety of guitars and the return of the Chaturangui, an Indian classical slide guitar played by Henry. On ‘Undelivered’, a song inspired by the discovery of a trunkload of undelivered 17th century letters, specifically one from a woman to the father of her unborn child, he even plays his lap slide Weissenborn with a paintbrush to create a buzzing drone.

Of a more recent origin, three intersecting true stories make up the sparse, drone-backed ‘Caravans’, pivoting around the 2010 sub-prime mortgages crash documented in the film The Big Short and exploring themes of ensuing loss and lives lived outside the financial vortex where dreams can kill.

Elsewhere, the Celtic-tinged ‘Signposts’, the most traditional folk sounding number, and the minimalist and appropriately glacial arrangement of ‘Iceberg’ offer fairly straightforward metaphors about making connections and people having hidden depths, respectively.

A suitably discordant affair, ‘Yarl’s Wood’ strikes a political note, being titled after and written about the Bedfordshire immigrant removal centre and the allegations of the abusive treatment of the women detainees, the theme of refugees resurfacing on ‘Borders’, which, set to drone and clacking percussion, is based around the true story of Afghan refugees who, seeking to ensure her future, send their five-year-old daughter on a journey, on foot, with two cousins to northern Europe in search of asylum.

Thematically connected, the tabla-dappled ‘Song Of The Jay’, ostensibly about how the Californian Bush Jay apparently sings a special song for the ‘funerals’ of other birds, of different species, serves as a metaphor for universal kinship. The drone is also created from a sample of a Jay singing.

Although also going by the title ‘The Emigrants Song’, sung in Cornish by Martin, the rhythmically pulsing traditional ‘Estren’ takes a different tack in the tale of an American traveller in Cornwall, leaving it open to question whether he intends to be true to the woman he meets and declares he’ll take back home or that she’s the latest in the list of those to whom he’s pledged s his loves.

There’s another traditional number to be found with the mortality-themed ‘What’s The Life of Man?’ given a suitably simple and reflective tone before the instrumentation swells in the final stretch. As well as them both featuring the Chaturangui, it also serves to set the scene for the upbeat final track, the self-penned, acoustic accompanied ‘The Good Earth’ which treats on nature’s life cycle of death and renewal and, by extension, the connections we share with one another, both those around us and those who have gone before as she sings how “we grow on old wood, we are links in the chain.”

The couple say they chose their new name as it captures the concept of liminality or transition explored in their songs and the idea of their music being on the periphery. Given the quality here, that may be a status that will also prove to be in a state of transition.

Mike Davies

Phil Henry and Hannah Martin 24/9/17a

If you would like to order a copy of the album (in CD or Vinyl), download it or just listen to snippets of selected tracks (track previews are usually on the download page) then click on the Edgelarks link to be taken to our associated partner Amazon’s website. Buying through Amazon on folking.com helps us to recover a small part of our running costs, so please order anything you need as every little purchase helps us.

ORDER – [CD]

Artists’ website: www.edgelarks.co.uk

‘Song Of The Jay’:

Edgelarks – Phillip Henry & Hannah Martin – New Album and Remaining Tour Dates

Edgelarks

We were recently treated to the hatching of Edgelarks (the new name for duo Phillip Henry & Hannah Martin) at the Southdowns Folk Festival in Bognor Regis last Sunday evening. The name change also spearheads the launch of the new album by the same name that is released 6.10.17.

The definition of Edgelark is “to sing about or from the margins”.

So its no surprise that the album focus on transitional spaces, minimal places, people, refugees and times. It looks at boundaries and thresholds; crossroads and borderlands.  There is a travelling theme that runs through the new album which spans stories of transition from old to new, all documented in song and wonderful music to a backdrop of shades of early morning light contrasted with the last ebb of light at the end of the day.

Darren Beech

Edgelarks describe this further as:

The idea that, despite often being places of marginalisation, these are also places of change – and therefore places of hope. That when social norms break down, when you are between two established worlds, there is a chance for new perspectives. That in the end, we have far more in common than things that divide us.

If you would like to order a copy of the album (in CD or Vinyl), download it or just listen to snippets of selected tracks (track previews are usually on the download page) then click on the Edgelarks link to be taken to our associated partner Amazon’s website. Buying through Amazon on folking.com helps us to recover a small part of our running costs, so please order anything you need as every little purchase helps us.

ORDER – [CD]

The Edgelarks – Remaining 2017 Launch Tour Dates…

*with very special guest The Little Unsaid

**with very special guest Tobias ben Jacob


07/11   Ropetackle Arts Centre, Shoreham**

Little High Street, Shoreham by Sea, W.Sussex, BN43 5EG

www.ropetacklecentre.co.uk / 01273 464440


08/11 Applegarth Farm, Headley Road, Grayshott, Hampshire, GU26 6JL

01428 725276 / stuart@handsontohealth.com

Tickets are £32, which includes a three course meal.


09/11   Anteros Arts Foundation, Norwich**

7 Fye Bridge Street, Norwich, Norfolk, NR3 1LJ

www.anterosfoundation.com / 01603 456 731


10/11   The Painswick Centre, Stroud**

Bisley Street, Painswick, Stroud, Gloucs. GL6 6QQ

www.painswickcentre.com / 07596 823 881


11/11   Somborne Sessions, Hampshire**

King’s Somborne Village Hall, off Romsey Road, Kings Somborne, Hants. SO20 6PP

www.sombornesessions.co.uk / 01794 388743


Artist Web links:

www.edgelarks.co.uk

Facebook: www.facebook.com/philliphenryandhannahmartin

GILMORE & ROBERTS – Conflict Tourism (GR! Records GRR006)

GILMORE & ROBERTS Conflict TourismI remember once, in Ireland, hearing that some American tourists’ idea of a fun day out was a taxi ride down the Falls Road. That kind of “thinking” forms the theme of this album, the fourth from Katriona Gilmore and Jamie Roberts.

The opening track, ‘Cecilia’, is a very powerful way to start with double bass from Matt Downer and all manner of additions from producer Mark Tucker, notably the percussive crack presumably imitating gunfire. It’s followed by ‘Jack O Lantern’ which starts out quietly and builds up to a big finish with Phillip Henry on lap steel. It has the Devil ruminating on being tricked not once but twice by the titular Jack. Next come a song from each writer which seem to link: Katriona’s ‘She Doesn’t Like Silence’ and Jamie’s ‘Selfish Man’ and here’s where I need to turn to the lyrics which are available on their duo’s website. Both are about internal conflict: the former is decorated by Phillip Henry’s lap steel and Dobro while the latter once more benefits from mark Tucker’s programming. As a man brought up in Derbyshire I should really like ‘Stumble On The Seam’ more than I do but by now I was beginning to find that the music was overwhelming the songs.

‘Peggy Airey’ is about a 19th century Barnsley character with the narrator regretting his former cruelty to her and ‘Peter Pan’ is dedicated to Jamie’s cousin who died prematurely – another aspect of internal conflict – and the one song in the set that doesn’t try too hard. Katriona and Jamie seem bent on moving towards the mainstream and, while I can’t deny them their ambition, where they’re going may not be where I want to follow.

Dai Jeffries

If you would like to order a copy of the album (in CD or Vinyl), download it or just listen to snippets of selected tracks (track previews are usually on the download page) then click on the banner link below to be taken to our associated partner Amazon’s website. Buying through Amazon on folking.com helps us to recover a small part of our running costs, so please order anything you need as every little purchase helps us.

Artists’ website: www.gilmoreroberts.co.uk

‘Cecilia’ – the official video:

PHILLIP HENRY & HANNAH MARTIN – Watershed (Dragonfly Roots DRCD003)

PHILLIP HENRY & HANNAH MARTIN WatershedHaving walked away with the Best Duo gong at the 2014 BBC Radio 2 Folk Awards, there must have been a degree of pressure on Henry and Martin when it came to their third album. Which may or may not have had something to do with them taking a very deliberate departure from Mynd. Where that largely addressed historical figures, here they chose to draw on more personal experience as a means of filtering everyman stories as a sort of modern day folk tale about, as per the title’s implications (on which they sing about which side to go), the decisions made and paths taken that shape different destinies

Recorded over 10 days in Devon’s Blackdown Hills with Matt Downer on double bass and James Taylor providing percussion, it’s a less musically textured affair in the sense that Henry has mostly confined himself to guitar and Dobro rather than draw on his wide-ranging virtuoso talents (though he does still wield the trusty harmonica), with Martin tempering everything with her violin.

I should, at this point, declare that I’m not fully persuaded by her vocals, which, while undeniably clear and fine, I find to be, at times, slightly too considered and measured, in need of a little more warmth, looseness and emotional expression. As such, from a personal perspective, it’s taken a while to get inside the album and find a connection, but that’s in no way to deny the craftsmanship of either the playing or the material.

Following on from the titular opener, guitar and mandolin (courtesy Rex Preston) provide the bedrock for ‘Stones’ (as in let him who is without sin, etc) , a musically undulating song inspired by now ex-UKIP councillor David Silvester, who declared the storms of 2014 were God’s response to same sex marriage. Harmonica opens and buzzes around ‘Tonight’, a musically multi-coloured track that takes on a sort of mix of trip hop beats, folk blues shuffle and dreamy croon, Martin’s delivery having a hint of Middle Eastern sway.

‘Yarrow Mill’ strikes a personal note for Henry, who takes his only lead vocal on a song that , backed by Martin’s pizzicato violin, tenderly recalls his grandparents’ courtship in the cotton mill of the title. Family history is there too on the spooked bluegrass mood of the search for a better life tale of ‘Foundling’, which grows from a spare, Dobro-mottled intro into an earthier affair, its traditional colours splashed with double bass and vibes to conjure a jazz-folk sense redolent of early Pentangle. Gently bathed in understated banjo and Dobro. ‘Conkers’ too has a reflective eye, looking back at childhood innocence from an adult’s perspective.

The year turns with the five minute guitar, violin and vibes instrumental ‘December’, ushering in an a capella Martin for ‘January’, a performance that underscores her vocal prowess and has me reconsidering my opinion. On then to the heavy weight of loss that hangs over the minimally arranged ‘Letter (Unsent), a reverie of strings set against the slow march drum beat taking over from the vocals around the three minute mark.

The album moves to its close with melancholic Celtic-misted Dobro for the Irish instrumental ‘Lament’ providing a bridge to ‘London’, a more musically upbeat, driving and almost rocky eight-minute number that could be seen as a vision of the now grown foundlings from earlier in the album further on their journey in search of one of a million futures, “picking them like flowers, making your way home”, as the number erupts in fiery fiddle. After the storm comes the calm, for ‘Taxis’, a banjo rippling ambivalent celebration of the working musician’s life on the road, one of former travelling and hanging around. But, let us not forget, they set off by stepping out on the stage to perform songs such as these, and sending audiences home with a glow in the soul.

Mike Davies

If you would like to order a copy of the album (in CD or Vinyl), download it or just listen to snippets of selected tracks (track previews are usually on the download page) then click on the banner link below to be taken to our associated partner Amazon’s website. Buying through Amazon on folking.com helps us to recover a small part of our running costs, so please order anything you need as every little purchase helps us.

Artists’ website: http://www.philliphenryandhannahmartin.co.uk/

‘Stones’ live at Calstock Arts Centre:

CENTENARY: WORDS & MUSIC OF THE GREAT WAR

MUSIC PLAYED BY SHOW OF HANDS

POETRY READ BY JIM CARTER AND IMELDA STAUNTON

UK album release June 30th 2014 / ‘Lads In Their Hundreds’ – UK single release July 14 2014 On UMTV

Two of our most popular and distinguished actors, Jim Carter and Imelda Staunton, have teamed up with the celebrated West Country acoustic band Show of Hands to mark the centenary of the First World War.  The conflict lasted for four years, led to the deaths of over sixteen million soldiers and civilians, and transformed Britain and much of the world. But the brutal carnage and the horrors of life in the trenches inspired the War Poetry, an extraordinary artistic movement written by those who fought, and in some cases died, in the fighting.

Unique and powerful, Centenary: Words & Music Of The Great War matches the remarkable poetry of those war years against the music of the era, along with new compositions inspired by the war. This double CD release includes one disc of twenty two poems read by Jim Carter and Imelda Staunton and set to new arrangements of songs from the period. As Show Of Hands’ Steve Knightley explains “we thought of the pieces as brief scenes from a film and treated the songs as half-remembered, distant reveries that with the extraordinary voices of Jim and Imelda just came alive”.
Continue reading CENTENARY: WORDS & MUSIC OF THE GREAT WAR

PHILLIP HENRY and HANNAH MARTIN RELEASE NEW ALBUM MYND

PHILLIP HENRY & HANNAH MARTINFast-rising Devon musicians and singer songwriters Phillip Henry & Hannah Martin (who recently clinched the Best Duo title in the recent 2013 Spiral Awards) are now out on tourThe Exeter pair also recently won the Best Folk Act title in the South West Music Awards.

They were originally “discovered” by Show of Hands front-man Steve Knightley who first encountered the duo busking on the seafront during Devon’s Sidmouth Folk Week. He describes their sound as “textured, hypnotic and utterly captivating”. Continue reading PHILLIP HENRY and HANNAH MARTIN RELEASE NEW ALBUM MYND